Often times metaphor is used as a channel to illustrate perception against the (vertiginous) force of reality. A reality that has the inertia to pull apart the seams of our tentative understanding of what we see and how we feel. Escape Velocity is only achieved in conjunction with the proper application of machines that defy/belie these laws. With no angle of attack, there is no lift. No place to go. The rotors howl and just keep spinning.

The two films in No Angle of Attack are a blithe coercion of the viewer into the moods and language of violence. They are, at depth, metonyms for control— packaged as innocuous and premeditated comic relief. All the carnage is wholly irreconcilable. One images, the other illustrated. One captured, the other constructed. One piloted, the other programmed. The agents of chaos are always beyond view/invisible/imaginary. Despite their fury perhaps they leave no scars and return to their masters unscathed. Beneath the scattered flightpath of the miniature helicopter is a pattern not dissimilar to the splattered shapes of blood on loop. Futility in repose, never quite gaining enough ground to become sinister or profound. Each film a parade of partial objects cast upon a stage with no direction home. Dissection without murder is even more debased (barbarism has its limits but curiosity does not). Torture is a probing gesture with no angle of attack. None at all.
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Tom Morrill lives and works in Brooklyn, NY. Recent collaborations include the musical score for Two Sisters, a film by Keola Racela (2015). This year also saw the release of his first record Pain English under the pseudonym Pale Jones. Upcoming projects include Linda from 1-5, a performance and exhibition.

Rebecca Naegele lives and works in Ridgewood, NY. Her work was recently included in the group exhibition STOPGAP, a collaboration with Andrea Fourchy and Lily Randall (2014); previous exhibitions have taken part at BRIC House, Brooklyn; Fort Gondo, St. Louis;Los Caminos, St. Louis; and The Lemp, St. Louis.

440 Gallery is pleased to announce a show of Tom Bovo's recent photographs, “The Other Side of Summer.” For his third solo show at the gallery, Bovo turns his attention away from cityscapes and still lifes, and focuses instead on the Santa Barbara Harbor. During a recent visit, he worked by wandering the waterfront at dawn and again at dusk. The city was quite a change for Bovo, who was born and raised in Brooklyn, and he found the location fascinating. The show opens Thursday, July 9th, and runs through Sunday, August 9th.

“Santa Barbara is dominated by the ocean, and the harbor is at the very core of the city. Everything revolves around fishing, pleasure boating, surfing, and deep sea diving. Even the building codes are designed to give everybody living in the hills around the harbor, which locals call ‘The Riviera,’ a clear view of the beach, harbor, and Pacific Ocean. Santa Barbara is all about the ocean.”

Bovo's interest in photography started in childhood when his father, a photography enthusiast, gave him a camera. He later studied painting and printmaking at Columbia University and this training is deeply felt in his photography. For decades, Bovo worked in the commercial photo industry in New York City, but has focused on his own work in recent years. His photographs are in private collections in the U.S. and Europe. Please visit the website for more information about the exhibition and related events.

Magic Object curated by Rico Gatson, exhibits the works of five artists who possess a magical and evocative sensibility in their work. The works in this exhibition are rooted in specific historical references and broach a variety of subjects. These subjects range from Jungian Psychology and traditional Inuit carving, to Stanley Kubrick’s “The Shining”.

Alex Lee Harris “Ringtone” (2015) is an instrument inspired by the sounds and anatomy of a wind chime. Suspended from the ceiling, Harris's work provides a mysterious and haunting soundtrack for the exhibition.

Roxanne Jackson contributes “Snake Eyes” 2014 and “Chrome Cats” 2013, a series of porcelain sculptures that utilize the image of a domestic cat and a snake to explore the internal duality of beauty and beastly as defined in Jungian psychology.

Mary Kate Maher’s “Spire” (2015), a freestanding sculpture that resembles totems, hag stones and cairns, is inspired by traditional Inuit carved forms that delineate edges of their native coastline. Maher’s second work, “White Out” 2015 provides a stark contrast to “Spire” in it’s representation of nothingness and the erasure of landscape in a photograph mounted on aluminum.

American Medium is excited to present “Somebody to Love” Jaimie Warren's first solo exhibition with the gallery opening August 9th, 2015. Following a six week residency at American Medium, Warren will unveil a new photo, video, and performance piece that was created in collaboration with high school students Kim Corona, Genesis Monegro, Arti Tripathi, and Daria Mateescu.

This artwork functions as an elaborate tribute piece to Freddy Mercury and the infamous band Queen; a re-creation of Sts. Cosmas and Damian (1370–75) by Matteo di Pacino. The painting's original image is interspersed with a bizarre variety of pop culture and art historical figures injected into the work by Warren and her collaborators. This will be the fourth in a series of projects in which Warren has worked with unique communities in residencies to conceive and create new performance-based works.

Warren's installation and accompanying video present a tableaux vivant come to life. The original painting, titled above, depicts a fictional documentation of the amputation of a leg from a man stricken with bubonic plague. Within Warren's new work (crafted from plastic, cardboard, and papier-maché) B-horror movie stars, contemporary pop stars, living piles of mush and eyeballs, and master opera singers unite to form a strange and heartfelt musical act dedicated to one of Warren’s biggest influences. Warren creates a vision where real-life legends and those culled from our collective visual history are acting within the same plane. Warren demonstrates her (and our) ability to empathize with personalities of a ridiculous range; regardless of their age, gender, species, or plane of existence.

Additional photographs by Warren will be on view in the back gallery.

Jaimie Warren was born in 1980 in Waukesha, Wisconsin and currently lives and works in Brooklyn, New York. She is co-creator and co-director of the community-engaged traveling collective Whoop Dee Doo.

Recent solo exhibitions of Warren’s work have been presented at The Hole in New York, San Francisco Camerawork in California, Higher Pictures in New York and the Kennedy Museum in Ohio. Warren is a 2015 fellow in Interdisciplinary Arts from the New York Foundation for the Arts, she is the recipient of the 2014 Baum Award for An Emerging American Photographer, and she is the subject of a 2008 monograph published by Aperture. Warren is a new featured artist in ART21's documentary series “New York Close Up”, with the first film focused on Whoop Dee Doo’s large-scale collaboration with the Urban Youth Theater Ensemble at Abrons Arts Center.

U:L:O: is an annual curatorial program that invites six curators over a six week period to organize a show in one of the three spaces at Interstate Projects, Upper(U:), Lower(L:), and Outside(O:). For 2015, Interstate Projects is pleased to present two parts. U:L:O: Part I is from June 19 – July 12, and includes U: Lodos (Mexico City), L: Minerva (Sydney), O: Weekends (Copenhagen). Part II is from July 17 – August 2, and includes U: Springsteen (Baltimore) L: Sardine (Brooklyn) O: 99 ¢ Plus (Brooklyn).

French-born Ariel Kalma’s boundary-blurring electronic music spans free-jazz and spoken word trips to his infinite modular synthesizer and analogue drum machine meditations, often laden with wistful sax melodies. A pioneer in the field of modularly synthesized electronic music, Kalma finds an ideal collaborator in Robert Aiki Aubrey Lowe, who has gained renown for hypnotic modular and voice improvisations as Lichens. The two electronic synth voyagers came together recently at the invitation of Matt Werth, an intergenerational collaboration that yielded the duo’s recent LP, We Know Each Other Somehow, (2015) on the RVNG labels’ FRKWYS imprint. Traveling along parallel paths until now, together these artists summon another world, merging the collective voice with their own.

Born in France but rarely in one place for long, Ariel Kalma’s 1970s migrations took flight through the decade’s furthest spaces of musical and spiritual invention. As a hired horn for well-known French groups, the young musician toured as far as India in 1972, where he would later return to immerse himself in sacred music traditions. Kalma loyally worked with dual ReVox set-up— two tape machines “chained” together to form a primitive delay unit. Over looped saxophone melodies, Kalma would mix in all shades of polyphonic color, synthesizing fragments of poetry with ambient space or setting modal flute melodies to rippling drum machine patterns and starlit field recordings. The results collapse distinctions between “electro-acoustic”, “biomusicology” and “ambient” categorization.

In France during the mid-1970s, Kalma was staffed as a technician at Pierre Henry’s legendary Institut National Audiovisuel, Groupe de Recherches Musicales (INA GRM) studios – the same music concréte laboratory that spawned masterpieces by members Luc Ferrari, Iannis Xenakis, and Bernard Parmegiani. Like his predecessors and colleagues at INA GRM, Kalma’s relationship to sound was both formal and non-hierarchical. To Kalma, all music existed as universal patterns, in perfect harmony with the people, places and environments it was created.

Robert Aiki Aubrey Lowe (b. 1975) is an artist and composer who works with his voice in the realm of spontaneous music most often under the moniker of Lichens. Creating patch pieces with modular synthesizer and tonal vocal work has been a focus of live performances and recordings recently. The quality of sound achieved through the marriage of synthesis and the voice have allowed for a heightened physicality in the way of ecstatic music both in live and recorded settings. The sensitivity of analogue modular systems echoes the organic nature of vocal expression, which in this case is meant to put forth a trancelike state to usher in a mode of deeper listening. His works on paper tend towards human relations to the natural/magical world and the repetition of motifs. 2015 will see further collaboration with French composer Ariel Kalma as well as Jóhann Jóhannsson, theatre/installation based work with artist Alexandra Wolkowicz, and a focus on video synthesis. Robert has collaborated with Ben Russell, Ben Rivers, Sabrina Ratté, Rose Lazar, Nicolas Becker, Jóhann Jóhannsson, Tarek Atoui, Evan Calder Williams, Ariel Kalma, Lucky Dragons, Alexandra Wolkowicz, Biba Bell, ADULT, Doug Aitken, and Rose Kallal, as well as many others.

The Journal Gallery is pleased to present “Freedom Culture,” a group exhibition curated by Graham Collins.

Although the show’s organization began by focusing on two primary groups of work—text paintings, and what the curator refers to as figurative sculpture—the sculpture category is loose in definition, expanding to include a wide range of sculptural work which act as a foil for the text-driven wall works. The lines between the two groups are intentionally blurred, questioning the defining separation between painting and sculpture. The rigid geometry of painting becomes subdued among more poetic forms situated within the gallery space. A small group of photographs by artists typically associated with other mediums, adds an additional voice to the dialogue.

The exhibition outlines different modes of communication, exploring the way information can be abstracted and how contrasting forms come together to form a dialogue.